Multicam editing in DaVinci Resolve is one of the most efficient ways to cut footage from two or more camera angles into a polished, coherent sequence. Whether you are editing a wedding, a panel interview, or a live performance, DaVinci Resolve’s native multicam tools handle the entire workflow inside a single project. This guide walks you through every stage, from organizing your footage to flattening your final edit, so you can move confidently from raw clips to a finished cut.

What Is Multicam Editing and When to Use It in DaVinci Resolve

Multicam editing lets you group multiple camera angles into a single synced clip, then cut between those angles in real time as the timeline plays. DaVinci Resolve handles this natively without third-party plugins.

Common use cases include multi-camera interviews, wedding ceremonies and receptions, concert or live event coverage, corporate panel discussions, and documentary shoots with a primary camera and a cutaway angle. If you have two or more cameras capturing the same event simultaneously, multicam editing is almost always faster and more organized than manually cutting between separate clips.

Preparing Your Footage Before You Build a Multicam Clip

A clean setup before you create the multicam clip saves significant troubleshooting time later. Work through this checklist before you start:

• Organize clips by camera angle in the Media Pool. Create a separate bin for each camera (Camera 1, Camera 2, Camera 3) and import your footage into the corresponding bin. A tidy Media Pool makes it easier to select the right clips when building the multicam clip.

• Confirm matching frame rates across all angles. Every source clip must share the same frame rate. Mixed frame rates are the single most common cause of sync drift. Check this in your camera settings or in DaVinci Resolve’s clip properties before proceeding.

• Verify consistent, clean audio on every angle. Audio waveform sync is the most widely used sync method in DaVinci Resolve multicam, and it only works reliably when each camera recorded a clear, consistent audio signal. Using a dedicated wireless microphone system helps here; the Hollyland LARK MAX 2, for example, features 32-bit Float Internal Recording and AI Noise Cancellation, which gives each camera a clean audio track to lock against during waveform sync.

• Use a sync reference at the start of each take. A clap, slate, or any sharp transient sound gives DaVinci Resolve a clear waveform peak to align across angles.

How to Create a Multicam Clip in DaVinci Resolve

Creating the multicam clip happens entirely in the Media Pool, not the timeline. This is one of the most common points of confusion for users new to the feature. Follow these steps:

1. Open the Media Pool on the Edit page or the Cut page.

   

2. Select all source clips that will become angles in your multicam clip. You can hold Shift to select a range or Ctrl/Cmd+click to select individual clips.

   

3. Right-click on the selected clips and choose “Create New Multicam Clip Using Selected Clips” from the context menu.

   

4. Name the multicam clip in the dialog that appears. Choose a descriptive name you will recognize in the Media Pool.

5. Configure the creation settings (see the table below for guidance on each option).

6. Click Create. DaVinci Resolve processes the clips and places a new multicam clip icon in the Media Pool. This icon is visually distinct from standard clips and indicates that the angles are grouped and synced.

   

Once the multicam clip appears in the Media Pool, it is ready to place on the timeline like any other clip.

Multicam Clip Settings Explained

When the creation dialog opens, you will see several configurable options. Most users can leave several of these at their defaults.

Syncing Camera Angles — Which Method to Use

DaVinci Resolve offers three sync methods when creating a multicam clip. Choosing the right method for your footage determines whether your angles align perfectly or require manual correction afterward.

Recommended hierarchy: Use Audio Waveform sync first. If your cameras support timecode and you set it up before the shoot, use Timecode for the most precise alignment. Fall back to In/Out Points only when the other two options produce unreliable results.

One practical note on waveform sync: the method is only as reliable as the audio it analyzes. A camera with no external microphone picking up muffled room noise gives DaVinci Resolve a weak waveform to compare against. Recording a clear audio reference on every angle from the start of production is the most consistent way to make waveform sync work without manual correction.

Using the Multicam Viewer to Switch Between Angles

The Multicam Viewer is where the real-time angle switching happens. It displays all angles simultaneously so you can cut between them while the timeline plays, mimicking a live switching workflow.

Setting up the Multicam Viewer:

1. Place your multicam clip on the Edit page timeline by dragging it from the Media Pool to a new timeline.

   

2. Open the Multicam Viewer by going to View → Enable Multiview Edit Preview in the top menu bar. The viewer panel will appear alongside the standard Source and Timeline viewers.

   

3. Confirm all angle tiles are visible. Each angle you included in the multicam clip appears as a labeled tile in the Multicam Viewer. The currently active angle has a highlighted border.

   

4. Press Play (Spacebar) to begin playback on the timeline.

Click an angle tile in the Multicam Viewer to cut to that angle at the current playback position. A cut point is automatically inserted on the timeline.

5. Alternatively, press the number keys (1, 2, 3…) corresponding to each angle to switch angles by keyboard without reaching for the mouse.

   

Switching behavior during playback: When you click an angle tile while the timeline is playing, DaVinci Resolve inserts a cut at that exact frame and switches all subsequent footage to the selected angle until you make another switch. This is called live switching and it mirrors a broadcast-style editing approach.

Video-Only vs. Audio-Only vs. Combined Angle Switches

DaVinci Resolve gives you three switching modes in the Multicam Viewer, controlled by icons at the top of the viewer panel:

• Video + Audio (default): Switches both the video and audio to the selected angle simultaneously. Use this when each angle has its own dedicated microphone and you want the audio to follow the cut.

• Video Only: Switches the video angle while keeping the audio locked to a single source angle. This is the most common workflow for interview and event footage, where you want consistent audio from one lavalier or boom source but want to cut freely between camera angles.

• Audio Only: Switches the audio source without changing the video. Rarely used during live switching but useful for fine-tuning audio assignments after the cut is complete.

To set the default switch type before you begin live switching, click the corresponding icon in the Multicam Viewer toolbar. You can also change the switch type on individual segments after the fact by right-clicking on a cut in the timeline.

Cutting Between Angles in the Timeline

After live switching, your multicam clip on the timeline reflects the cuts you made. Understanding how the timeline displays and allows you to adjust those cuts is the next step in refining your edit.

1. Review the timeline display. The multicam clip appears as a single clip track but displays angle indicators or color coding on each segment, showing which angle is active for that portion of the timeline. This is different from separate clips stacked on multiple tracks.

2. Trim cut points to adjust timing. You can drag the edges of any segment within the multicam clip to move a cut point earlier or later, exactly as you would trim any standard clip in DaVinci Resolve.

3. Change the angle on a specific segment. If a particular segment is showing the wrong camera angle, right-click on that segment in the timeline and select “Change Clip Angle” from the context menu. A sub-menu lists all available angles, and selecting one swaps the video (or audio, or both) for that segment without affecting the surrounding cuts.

4. Use the Edit page for fine adjustments. The Edit page gives you full access to the Multicam Viewer, the Inspector, and standard trimming tools. The Cut page can handle basic multicam playback but offers fewer precision controls for adjusting angle assignments after live switching.

The key conceptual point here is that the multicam clip on the timeline is still a single grouped object at this stage. Individual angle segments are divisions within that clip, not independent clips on the timeline. This distinction becomes critical when you decide to flatten.

Flattening Your Multicam Edit

Flattening converts your multicam clip into individual source clips on the timeline. Each segment that previously referenced a particular angle becomes a discrete clip drawn from the original source footage.

When to flatten:

• Before color grading individual angles on the Color page (grading an unflattened multicam clip applies corrections across the whole clip uniformly)

• Before detailed audio work on the Fairlight page when angles need separate treatment

• Before final delivery when you want a standard timeline structure for collaboration or archiving

How to flatten:

1. Select the multicam clip (or specific segments) on the timeline.

2. Right-click and choose “Flatten” from the context menu.

   

3. DaVinci Resolve replaces the multicam clip with the corresponding source clips placed sequentially on the timeline.

Warning: Flattening is irreversible. Once you flatten a multicam clip, you cannot restore the grouped multicam structure without rebuilding it from scratch. Before flattening, save a duplicate timeline or use DaVinci Resolve’s timeline versioning to preserve a copy of your multicam edit. Only flatten when you are satisfied with all angle assignments and cut points.

Common Multicam Sync Problems and How to Fix Them

Even with careful preparation, sync issues do occur. Here are the most common problems and their solutions:

• Problem: Angles are visibly out of sync after the multicam clip is created. Cause: Mismatched frame rates between source clips, or one angle had audio too noisy for waveform detection. Fix: Check clip properties for all source footage and confirm identical frame rates. If frame rates match, re-create the multicam clip and try a different sync method, or manually set In/Out points on each clip before creation.

• Problem: The Multicam Viewer displays “No Video” for one or more angles. Cause: A codec or container format that DaVinci Resolve cannot decode natively without an additional license (common with certain H.264 or H.265 variants on the free version). Fix: Transcode the problematic clips to a DaVinci Resolve-friendly format such as DNxHD or ProRes using DaVinci Resolve’s own export or a tool like HandBrake, then re-import and rebuild the multicam clip.

• Problem: Sync appears correct at the beginning of the timeline but drifts noticeably over several minutes. Cause: Frame rate mismatch that was not caught during preparation. A 23.976 fps clip mixed with a 24 fps clip will drift by several frames over a long timeline. Fix: This is almost always a frame rate issue, not a true waveform sync failure. Re-check every source clip’s actual (not estimated) frame rate using clip properties, correct the mismatch at the source if possible, and rebuild the multicam clip.

FAQ

Does DaVinci Resolve Free support multicam editing?

Yes. Multicam editing is fully available in the free version of DaVinci Resolve with no restrictions. You can create multicam clips, use the Multicam Viewer, perform live switching, and flatten your edit without purchasing a DaVinci Resolve Studio license. No features covered in this guide require the paid version.

How many camera angles can a multicam clip handle in DaVinci Resolve?

DaVinci Resolve supports up to 16 angles in a single multicam clip. For the majority of shoots involving two to four cameras, this limit is never a concern. Productions with large multi-camera setups such as concert recordings or broadcast panels can still work within this limit by grouping cameras strategically.

Can I color grade individual angles in a multicam clip?

Not directly while the multicam clip is intact. Grading an unflattened multicam clip on the Color page applies corrections to the entire grouped clip uniformly. To grade each angle independently, flatten the multicam clip first so that each segment becomes a separate source clip on the timeline, then grade each clip individually on the Color page.

What is the best sync method if my cameras do not have timecode?

Audio waveform sync is the most reliable option for cameras without timecode capability. Make sure every camera recorded a common audio reference at the start of each take, such as a hand clap or a slate. The sharper and louder the transient, the more accurately DaVinci Resolve can align the waveforms across all angles.

Conclusion

The multicam workflow in DaVinci Resolve follows five clear stages: prepare and organize your footage, create the multicam clip in the Media Pool, choose the right sync method, cut between angles using the Multicam Viewer, and flatten when you are ready for color and audio work. Starting with clean audio on every camera angle makes waveform sync significantly more reliable and reduces the time spent on manual corrections. From here, a natural next step is exploring color grading on the Color page or audio refinement on the Fairlight page, both of which benefit directly from a well-structured, flattened timeline.